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34 Dancing.*, Fop A Living - two DM: It's all covered dancing right? There aren't any topless dancers like Las Vegas. JJ: Right, all covered dancing. DM: I want to ask you two questions. In Japan, they have a problem with age. They don't want the more mature dancer. Is that the case with Guam? And two, in Las Vegas some of the shows want the very tall dancer. Does Guam have a height minimum? JJ: First, no, there is no problem with age. No one has ever mentioned any type of age maximum as long as the dancer looks good and takes care of themself. But I have to say that height is starting to become an issue. I don?╟╓t know why but lately they seem to be wanting dancers that are a little taller. In the show now, I know I have female dancers that are 5?╟╓3?╟Ñ but they are wanting females to be about 5?╟╓6?╟Ñ. For the men it?╟╓s 5?╟╓10?╟Ñ. DM: What else do you need from a dancer wanting to work Guam? JJ: I need energy and stamina. Good positive energy. You know, the type of dancer that?╟╓s fun in rehearsals and fun to be around. But they also need stamina because this is a fast show and it?╟╓s twelve shows a week. I also like new dancers, dancers right out of school that may not have a lot of credits but have a lot of enthusiasm. I enjoy channeling that energy and helping to develop a terrific performer, so make sure you mention that new dancers are welcome at my auditions. DM: Speaking of auditions. What can we expect? JJ: I?╟╓m sure I?╟╓m not alone when I say please don?╟╓t wear anything too baggy. I need to see your line. I need to see body placement and I can?╟╓t see that if you?╟╓re wearing the current baggy style of clothes. Ladies, Chapter Three - Guam and Japan__________ 35 just wear a nice leotard and bring both rubbered heels and jazz shoes. I very seldom need you to bring tap shoes, just jazz shoes and heels. Your makeup should be pretty. What you would wear out on a date, but not too freaky. I can?╟╓t use you if it?╟╓s too freaky. The dance will be a strong jazz combination, ballet and some street. I never do the preparation, pirouette thing that many people do. I don?╟╓t know what that really tells you about a dancer. I. learn more from a strong jazz combination. Of course, I?╟╓m looking for technique. There will be turns, extensions; and isolations are very important. I like people that pick up the combinations very quickly. We don?╟╓t have a lot of time for rehearsals and there are quite a few numbers to learn. I?╟╓m always looking for good positive energy. I watch dancers all the time, so once you walk in the studio, know that you're auditioning. I'll give you an example of what I don?╟╓t want. When I choreograph I?╟╓m always prepared. I have all my choreography ready, but sometimes when you see the routine up and running you have to make changes. When I make changes and I see a dancer rolling their eyes - that's the kind of negative attitude I can?╟╓t tolerate. I need everyone to be working together for the good of the show. I remember working with Fred Astaire and Fred was working out a step in the mirror. Out of the corner of his eye he saw one of the chorus ladies frowning and making faces, like Fred couldn?╟╓t do this simple step. Of course, he could do the step, he was working on something else to go with it. He called me over and said, "You see the girl in the red leotard over there against the wall. Tell her goodbye." DM: Where do you audition?